DOCSLIB.ORG

New Art/Science Affinities

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Art/Science Affinities NEW ART/SCIENCE AFFINITIES ART/SCIENCE NEW art social web collaboration work artistic consider operate science many made tool technology way internet found fi rst move life general artist laboratory present modern computer rather entire associate use technological technology foundation project cell american community hacker call view knowledge new found well sleep one people might original design invent network wide year caption very experiment image data direct society process material include write system creative position diff erent source launch set produce research programme go question NEW human earth approach diy future contemporary exist establish cultural http dream perspective time publish relationship place public provide information context practice just product build ART/SCIENCE scientifi c look university language hack behavior over study blood user device however engineer term camera robert develop create example environmental culture video fl ower studio AFFINITIES media program maker learn through allow planet high software live goal subvert make natural critical application method make machine experience world understand school engage scientist ideas common online electronic how white back robot physical group start current open workshop involve become model describe visual release title participant state see limb nature invert piece lab eye practical Régine Debatty form change interest activity digital point researcher Claire L. Evans center plant city Pablo Garcia create century person space better fi ction ISBN 978-0977205347 -9 Andrea Grover Thumb with STUDIO for Creative Inquiry 9 780977 205349 and Miller Gallery at Carnegie Mellon University foreword Carnegie Mellon’s STUDIO for Creative Inquiry supports atypical, interdisciplinary, and interinstitutional research at the intersection of the arts, science, and technology. In parallel, the Miller Gallery at Carnegie Mellon University supports experimentation that expands the notions of art and culture, providing a forum for engaged conversations about creativity and innovation. Together our units work to develop and pre- sent new research in the arts. This publication represents the capstone to a new curatorial residency program developed jointly by the Miller Gallery and the STUDIO, with support from the Andy Warhol Foundation for the Visual Arts. We are proud to present this timely reflection on the current and historic intersections of art, science, and technology. This book is the type of adventurous and interdisciplinary investigation that we seek to foster. We have been delighted to host Luke Bulman, Régine Debatty, Claire Evans, Pablo Garcia, and Jessica Young, along with principal investigator and curatorial fellow Andrea Grover, who deftly guided this project to completion in a mere seven days. —Astria Suparak Director, Miller Gallery at Carnegie Mellon University —Golan Levin Director, Carnegie Mellon STUDIO for Creative Inquiry 1. The authors at work in the STUdIo for Creative Inquiry, february 18, 2011. Photo: Jonathan Minard eXTreMe wrITING It’s 4:01 p.m. on February 18, 2011. There are ten of us in the We launched our book sprint in order to produce a snapshot STUDIO for Creative Inquiry—a former library now emptied of this particular moment—and because we wanted to of its books and reconfigured for computers and projection— do it with immediacy, without distraction. The topic of this within the College of Fine Arts at Carnegie Mellon University. publication is the most recent manifestation of artists working The tables in the STUDIO are cluttered with empty food plates, in art, science, and technology, which we broadly define as coffee cups, notepads, essays, and publications from the Hunt work that adopts processes of the natural or physical sciences, Library next door. The windows are open and it’s 61 degrees “does strange things with electricity” (to borrow a phrase Fahrenheit, a rare occurrence for February in Pittsburgh. The from Dorkbot3), breaks from traditional models of art/science room is quiet with the exception of the occasional murmur pairings, and was created within the last five years. We realize of conversation and the sound of keyboards ticking. We are that art, science, and technology intersections have a tradition five days into a seven-day challenge: to collectively author and with much deeper roots than we have space to detail here design a book on the subject of contemporary artists working (and that such histories have been given attention elsewhere), at the intersection of art, science, and technology. Despite the so we’ve provided in a timeline a brief subjective history appearance of working independently, we are all networked, of innovations, movements, and cultural events that have con- reading and writing toward the same purpose. tributed to this tradition and led us to this moment. To be clear: this book is an effort to understand this very moment in art, The publication you hold in your hands was created this way science, and technology affinities, and the ways Internet over the course of one week (February 14–20, 2011) by culture and networked communication have shaped the practice.4 four writers and two graphic designers, with the assistance of two readers and eleven work-study students. It was a “book —Andrea Grover sprint.” Derived from “code sprinting,” a method for working Project Lead, Warhol Curatorial Fellow at on an open source project by getting software developers into the STUDIO for Creative Inquiry and the Miller Gallery a single room for a period of intensive work, the term book at Carnegie Mellon University sprint describes the quick, collective writing of a topical book. The process has a long and interdisciplinary lineage: we see the 1. fLoSS Manuals is a non-profit online community whose aim is to produce same idea in think tanks, collective intelligence frameworks, quality free documentation for free software. 2. transmediale is an annual festival for art and digital culture held in Berlin. telepathy, and the notions of cyborgs and the “metabrain.” 3. dorkbot is a group of affiliated organizations worldwide that sponsors No one section of this book has a sole author, and the writing grassroots meetings of artists, engineers, designers, scientists, inventors, process occurred in a nonlinear, simultaneous, and synergistic and anyone else working under the very broad umbrella of electronic art. The dorkbot motto is “people doing strange things with electricity.” fashion in the collective workspace at the STUDIO. 4. An even larger question, to be considered in another forum, is how Internet culture and networked communication is shaping culture and politics at this The concept of a book sprint isn’t ours; we’re indebted to book moment. during the week we were creating this document, newspapers 1 were placed daily at the threshold of our hotel rooms. Photos of protests sprint astronauts FLOSS Manuals and the participants in from around the world were front page news. The two-week-old “egyptian Collaborative Futures at transmediale 2010 and 20112–the first revolution of 2011” had set in motion a worldwide movement by virtue of people with the inspiration to translate the “sprinting” method its visibility and ability to communicate its message instantly and globally. to something other than code writing or technical text. This process wouldn’t have been possible a decade ago, either: the Internet has provided us with instant access to reference materials, a means to write simultaneously on one text, and the bandwidth to incorporate images and visual design in real time. CoNTeNTS 08 INTrodUCTIoN 11 ProGrAM ArT or Be ProGrAMMed C.E.B. Reas / Rafael Lozano-Hemmer / Jer Thorp / Marius Watz / Aaron Koblin with comments from: Golan Levin 29 SUBverT! Robin Hewlett and Ben Kinsley / Sebastian Brajkovic / Julius von Bismarck / Paul Vanouse / Julian Oliver and Danja Vasiliev / Marco Donnarumma / Willy Sengewald (TheGreenEyl) / Boredomresearch with comments from: Julian oliver & danja vasiliev, Johannes Grenzfurthner 57 CITIzeN SCIeNCe Cesar Harada / HeHe / Critter / Machine Project / Center for PostNatural History / The Institute for Figuring with comments from: Cesar Harada, fred Adams 73 ArTISTS IN White CoATS and LATeX GLoveS Brandon Ballengée / Gilberto Esparza / Philip Ross / BCL / Kathy High / Fernando Orellana / SWAMP / Agnes Meyer-Brandis / SymbioticA and Tissue Culture & Art Project with comments from: Philip ross, Adam zaretsky 107 THe MAker MoMeNT Machine Project / Thomas Thwaites / Jonah Brucker-Cohen and Katherine Moriwaki / John Cohr / Free Art Technology (F.A.T.), OpenFrameworks, The Graffiti Research Lab, and the Ebeling Group with comments from: Geraldine Juarez, Mark Allen, Jonah Brucker-Cohen 131 THe OVERVIew EFFECT Tomás Saraceno / Dunne & Raby / Sascha Pohflepp / Bruce Sterling / Atelier van Lieshout / etoy with comments from: Jeff Lieberman, Sascha Pohflepp, wendy fok 157 Intermediary: The Scientific Evangelist 168 TIMeLINe A subjective chronology of art, science, and technology 180 Bibliography 184 Image Credits 187 Contributors / Acknowledgments 188 The most used words in this book 190 Colophon 8 INTrodUCTIoN “The artist is a positive force in perceiving how technology can Snow argued that if the so-called two cultures (science and be translated to new environments to serve needs and provide the humanities) couldn’t manage to find a way to communi- variety and enrichment of life. He may be the only one who cate—or at least overcome their pretensions long enough can transcend cultural
Load more

Recommended publications
  • ARTIFICIAL INTELLIGENCE and ALGORITHMIC LIABILITY a Technology and Risk Engineering Perspective from Zurich Insurance Group and Microsoft Corp
    White Paper ARTIFICIAL INTELLIGENCE AND ALGORITHMIC LIABILITY A technology and risk engineering perspective from Zurich Insurance Group and Microsoft Corp. July 2021 TABLE OF CONTENTS 1. Executive summary 03 This paper introduces the growing notion of AI algorithmic 2. Introduction 05 risk, explores the drivers and A. What is algorithmic risk and why is it so complex? ‘Because the computer says so!’ 05 B. Microsoft and Zurich: Market-leading Cyber Security and Risk Expertise 06 implications of algorithmic liability, and provides practical 3. Algorithmic risk : Intended or not, AI can foster discrimination 07 guidance as to the successful A. Creating bias through intended negative externalities 07 B. Bias as a result of unintended negative externalities 07 mitigation of such risk to enable the ethical and responsible use of 4. Data and design flaws as key triggers of algorithmic liability 08 AI. A. Model input phase 08 B. Model design and development phase 09 C. Model operation and output phase 10 Authors: D. Potential complications can cloud liability, make remedies difficult 11 Zurich Insurance Group 5. How to determine algorithmic liability? 13 Elisabeth Bechtold A. General legal approaches: Caution in a fast-changing field 13 Rui Manuel Melo Da Silva Ferreira B. Challenges and limitations of existing legal approaches 14 C. AI-specific best practice standards and emerging regulation 15 D. New approaches to tackle algorithmic liability risk? 17 Microsoft Corp. Rachel Azafrani 6. Principles and tools to manage algorithmic liability risk 18 A. Tools and methodologies for responsible AI and data usage 18 Christian Bucher B. Governance and principles for responsible AI and data usage 20 Franziska-Juliette Klebôn C.
    [Show full text]
  • A System of Formal Notation for Scoring Works of Digital and Variable Media Art Richard Rinehart University of California, Berke
    A System of Formal Notation for Scoring Works of Digital and Variable Media Art Richard Rinehart University of California, Berkeley Abstract This paper proposes a new approach to conceptualizing digital and media art forms. This theoretical approach will be explored through issues raised in the process of creating a formal declarative model for digital and media art. This methodology of implementing theory as a way of exploring and testing it is intended to mirror the practices of both art making and computer processing. In these practices, higher-level meanings are manifested at lower levels of argument, symbolization, or concretization so that they can be manipulated and engaged, resulting in a new understanding of a theory or the formulation of new higher-level meaning. This practice is inherently interactive and cyclical. Similarly, this paper is informed by previous work and ideas in this area, and is intended to inform and serve as a vehicle for ongoing exchange around media art. The approach presented and explored here is intended to inform a better understanding of media art forms and to provide the lower level 'hooks' that support the creation, use and preservation of media art. In order to accomplish both of those goals, media art works will not be treated here as isolated and idealized entities, but rather as entities in the complex environment of the real world where they encounter various agents, life-cycle events, and practical concerns. This paper defines the Media Art Notation System and provides implementation examples in the appendices. 1 Digital / Media Art and the Need for a Formal Notation System Digital and media art forms include Internet art, software art, computer-mediated installations, as well as other non-traditional art forms such as conceptual art, installation art, performance art, and video.
    [Show full text]
  • Biophilia, Gaia, Cosmos, and the Affectively Ecological
    vital reenchantments Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) vital reenchantments: biophilia, gaia, cosmos, and the affectively ecological. Copyright © 2019 by Lauren Greyson. This work carries a Creative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/li- censes/by-nc-sa/4.0/ First published in 2019 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-950192-07-6 (print) ISBN-13: 978-1-950192-08-3 (ePDF) lccn: 2018968577 Library of Congress Cataloging Data is available from the Library of Congress Editorial team: Casey Coffee and Eileen A.
    [Show full text]
  • Download PDF 3.01 MB
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife.
    [Show full text]
  • Practical Homomorphic Encryption and Cryptanalysis
    Practical Homomorphic Encryption and Cryptanalysis Dissertation zur Erlangung des Doktorgrades der Naturwissenschaften (Dr. rer. nat.) an der Fakult¨atf¨urMathematik der Ruhr-Universit¨atBochum vorgelegt von Dipl. Ing. Matthias Minihold unter der Betreuung von Prof. Dr. Alexander May Bochum April 2019 First reviewer: Prof. Dr. Alexander May Second reviewer: Prof. Dr. Gregor Leander Date of oral examination (Defense): 3rd May 2019 Author's declaration The work presented in this thesis is the result of original research carried out by the candidate, partly in collaboration with others, whilst enrolled in and carried out in accordance with the requirements of the Department of Mathematics at Ruhr-University Bochum as a candidate for the degree of doctor rerum naturalium (Dr. rer. nat.). Except where indicated by reference in the text, the work is the candidates own work and has not been submitted for any other degree or award in any other university or educational establishment. Views expressed in this dissertation are those of the author. Place, Date Signature Chapter 1 Abstract My thesis on Practical Homomorphic Encryption and Cryptanalysis, is dedicated to efficient homomor- phic constructions, underlying primitives, and their practical security vetted by cryptanalytic methods. The wide-spread RSA cryptosystem serves as an early (partially) homomorphic example of a public- key encryption scheme, whose security reduction leads to problems believed to be have lower solution- complexity on average than nowadays fully homomorphic encryption schemes are based on. The reader goes on a journey towards designing a practical fully homomorphic encryption scheme, and one exemplary application of growing importance: privacy-preserving use of machine learning.
    [Show full text]
  • Science Communication
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Juelich Shared Electronic Resources Science Communication http://scx.sagepub.com/ On the Shoulders of YouTube : Science in Music Videos Joachim Allgaier Science Communication 2013 35: 266 originally published online 7 September 2012 DOI: 10.1177/1075547012454949 The online version of this article can be found at: http://scx.sagepub.com/content/35/2/266 Published by: http://www.sagepublications.com Additional services and information for Science Communication can be found at: Email Alerts: http://scx.sagepub.com/cgi/alerts Subscriptions: http://scx.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://scx.sagepub.com/content/35/2/266.refs.html >> Version of Record - Feb 28, 2013 OnlineFirst Version of Record - Sep 7, 2012 What is This? Downloaded from scx.sagepub.com at Forschungszentrum Julich Gmbh on May 13, 2013 SCX35210.1177/1075547012 454949Science CommunicationAllgaier © 2011 SAGE Publications Reprints and permission: http://www. sagepub.com/journalsPermissions.nav Commentary Science Communication 35(2) 266 –275 On the Shoulders of © 2012 SAGE Publications Reprints and permission: YouTube: Science sagepub.com/journalsPermissions.nav DOI: 10.1177/1075547012454949 in Music Videos scx.sagepub.com Joachim Allgaier1 Abstract Music videos are about many topics, and some are about science and tech- nology. In this commentary, the author explores what kinds of music videos about science are available and how they could be categorized. It is argued that music videos could be helpful tools for science communication and science education.
    [Show full text]
  • Press Release E.A.T.—Experiments in Art and Technology
    Press Release E.A.T.—Experiments in Art and Technology July 25–November 1, 2015 Mönchsberg [3] & [4] The Museum der Moderne Salzburg presents an international premiere: a Presse comprehensive survey of the groundbreaking projects of E.A.T.—Experiments Mönchsberg 32 in Art and Technology, an evolving association of artists and technologists 5020 Salzburg who wrote history in the 1960s and 1970s with projects between New York and Austria Osaka. The show is on view on the Mönchsberg. T +43 662 842220-601 F +43 662 842220-700 Salzburg, July 24, 2015. The Museum der Moderne Salzburg mounts the first-ever comprehensive retrospective of the activities of Experiments in Art and Technology [email protected] www.museumdermoderne.at (E.A.T.), a unique association of engineers and artists who wrote history in the 1960s and 1970s. Artists like Robert Rauschenberg (1925–2008) and Robert Whitman (b. 1935) teamed up with Billy Klüver (1927–2004), a visionary technologist at Bell Telephone Laboratories, and his colleague Fred Waldhauer (1927–1993) to launch a groundbreaking initiative that would realize works of art in an unprecedented collaborative effort. The Museum der Moderne Salzburg dedicates two levels of its temporary exhibition galleries on the Mönchsberg with over 16,000 sq ft of floor space to this seminal venture fusing art and technology; around two hundred works of art and projects ranging from kinetic objects, installations, and performances to films, videos, and photographs as well as drawings and prints exemplify the most important stages of E.A.T.’s evolution. “In the past smaller exhibitions have highlighted the best-known events in E.A.T.’s history, but a comprehensive panorama of the group’s activities that reveals the full range and diversity of E.A.T.’s output has long been overdue.
    [Show full text]
  • Big in Japan at the 1970 World’S Fair by W
    PROOF1 2/6/20 @ 6pm BN / MM Please return to: by BIG IN JAPAN 40 | MAR 2020 MAR | SPECTRUM.IEEE.ORG AT THE 1970 WORLD’S FAIR FAIR WORLD’S 1970 THE AT HOW ART, TECH, AND PEPSICO THEN CLASHED TECH, COLLABORATED, ART, HOW BY W. PATRICK M PATRICK W. BY CRAY c SPECTRUM.IEEE.ORG | MAR 2020 MAR | 41 PHOTOGRAPH BY Firstname Lastname RK MM BP EV GZ AN DAS EG ES HG JK MEK PER SKM SAC TSP WJ EAB SH JNL MK (PDF) (PDF) (PDF) (PDF) (PDF) (PDF) (PDF) Big in Japan I. The Fog and The Floats ON 18 MARCH 1970, a former Japanese princess stood at the tion. To that end, Pepsi directed close to center of a cavernous domed structure on the outskirts of Osaka. US $2 million (over $13 million today) to With a small crowd of dignitaries, artists, engineers, and busi- E.A.T. to create the biggest, most elaborate, ness executives looking on, she gracefully cut a ribbon that teth- and most expensive art project of its time. ered a large red balloon to a ceremonial Shinto altar. Rumbles of Perhaps it was inevitable, but over the thunder rolled out from speakers hidden in the ceiling. As the 18 months it took E.A.T. to design and balloon slowly floated upward, it appeared to meet itself in mid- build the pavilion, Pepsi executives grew air, reflecting off the massive spherical mirror that covered the increasingly concerned about the group’s walls and ceiling. vision. And just a month after the opening, With that, one of the world’s most extravagant and expensive the partnership collapsed amidst a flurry multimedia installations officially opened, and the attendees of recriminating letters and legal threats.
    [Show full text]
  • A Topological Space for Design, Participation and Production. Tracking Spaces of Transformation
    The Journal of Peer Production New perspectives on the implications of peer production for social change Journal of Peer Production Issue 13: OPEN http://peerproduction.net — ISSN 2213-5316 A TOPOLOGICAL SPACE FOR DESIGN, PARTICIPATION AND PRODUCTION. TRACKING SPACES OF TRANSFORMATION Sandra Álvaro Sánchez ‘Space of transformation’ is a concept borrowed from Serres’ communication theory and here redefined after the evolution of the post-digital milieu and the materialistic critique of the same. Hackerspaces, fablabs, medialabs and other shared machines shops are defined here as spaces of transformation, places for the encounter between humans and non-humans, where disciplines are bridged together, hitherto severed, giving place to collective practices related to education, production and society. Shared machine shops are sited locally but also connected globally. Online, they share innovative forms of production, education and collective organization, giving place to a complex ecosystem. This article presents an analysis of the topology of this ecosystem conducted by means of tracking and visualizing the online interactions between the hackerspaces listed at the platform Hackerspaces.org. The application of network analysis is aimed to answer the research questions: First, how shared machine shops are locally and globally connected? Second, what links hackerspaces among them and these with new social issues? The concept of shared machine shops as spaces of transformation and the study of their mutual relations allows for an understanding of the transformative capacity of these spaces and how they are producing a new space for social innovation through its mutual interchange of information. Keywords: hackerspaces, network analysis, design, social innovation, space of transformation development of new organizational forms related to By Sandra Álvaro Sánchez peer-production, and the prototyping of new material products, linked to entrepreneurship and Download as PDF innovation, as well as, of new educational projects.
    [Show full text]
  • Text of Interview with Jon Ippolito
    Smithsonian Institution Time-Based and Digital Art Working Group: Interview Project Interview with Jon Ippolito Jon Ippolito is the co-founder of the Still Water Lab and Digital Curation program at the University of Maine and an Associate Professor of New Media at the University of Maine. He was formerly Associate Curator of Media Arts at the Guggenheim Museum in New York City. June 25, 2013 Interviewers: Crystal Sanchez and Claire Eckert I was a curator at the Guggenheim in the 1990s and 2000s, starting in 1991. At the same time I was an artist. As an artist, I had become interested in the internet, largely because of its egalitarian structure, compared to the mainstream art world. I was trying to conceive of works that would avoid technical obsolescence by being variable from the get-go. At the same time that my collaborators and I were imagining ways that a work could skip from one medium to another, like a stone skips across the surface of a lake, I started to see warning flags about all the works—especially media works—that were about to expire. Films would be exploding in canisters. Video formats from the 1980s were becoming obsolete. Conceptual artists from the 1970s were dying. Newer formats like internet protocols from only a few months before were falling apart. It was like the statute of limitations ran out on everything at the same time, around the late 1990s or 2000. In thinking through some of the problems associated with the death of prominent websites, I began to ask whether we could apply the pro-active solution of variable media retroactively to the problem of rescuing these near-dead art works.
    [Show full text]
  • Spy Culture and the Making of the Modern Intelligence Agency: from Richard Hannay to James Bond to Drone Warfare By
    Spy Culture and the Making of the Modern Intelligence Agency: From Richard Hannay to James Bond to Drone Warfare by Matthew A. Bellamy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Dissertation Committee: Associate Professor Susan Najita, Chair Professor Daniel Hack Professor Mika Lavaque-Manty Associate Professor Andrea Zemgulys Matthew A. Bellamy [email protected] ORCID iD: 0000-0001-6914-8116 © Matthew A. Bellamy 2018 DEDICATION This dissertation is dedicated to all my students, from those in Jacksonville, Florida to those in Port-au-Prince, Haiti and Ann Arbor, Michigan. It is also dedicated to the friends and mentors who have been with me over the seven years of my graduate career. Especially to Charity and Charisse. ii TABLE OF CONTENTS Dedication ii List of Figures v Abstract vi Chapter 1 Introduction: Espionage as the Loss of Agency 1 Methodology; or, Why Study Spy Fiction? 3 A Brief Overview of the Entwined Histories of Espionage as a Practice and Espionage as a Cultural Product 20 Chapter Outline: Chapters 2 and 3 31 Chapter Outline: Chapters 4, 5 and 6 40 Chapter 2 The Spy Agency as a Discursive Formation, Part 1: Conspiracy, Bureaucracy and the Espionage Mindset 52 The SPECTRE of the Many-Headed HYDRA: Conspiracy and the Public’s Experience of Spy Agencies 64 Writing in the Machine: Bureaucracy and Espionage 86 Chapter 3: The Spy Agency as a Discursive Formation, Part 2: Cruelty and Technophilia
    [Show full text]
  • Art Studio Classes Adult • Teens • Children Spring 2015All Events Are FREE Assand Open to the Calendar Public Unless Otherwise Noted
    art studio classes adult • teens • children spring 2015All events Are FREE Assand open to the calendar public unless otherwise noted. welcome feb When was the last time you lost yourself eXHIBITIONS | Feb 12 – Apr 26 in a creative activity, one that ignited OPENING RECEPTION | thurs, Feb 12 | 6:00 – 8:00 pm The Crochet Coral Reef Project your passion and curiosity, where you russell hill rogers Gallery II | navarro This exhibition by the Institute for Figuring, found yourself completely absorbed? celebrates the intersection of higher geometry and feminine handicraft, and a testimony to the disappearing wonders of the marine world. You can go back to that time of inspiration and unleash the artist inside of you Confections and Fictions once again. What’s stopping you? The Southwest School of Art is waiting! detail. The Crochet Coral Reef Project, mixed media russell hill rogers Gallery i | navarro Jesse Amado, Andrew Havenhand, and The Southwest School of Art has been offering an extensive list of adult art Kelly O’Connor exhibit new provocative and classes for adults since 1970. enticing works created with unusual materials. • We offer classes in papermaking, ceramics, drawing, printmaking, painting, dec DEBBIE McMAhon Fiber Art syMposiuM REGISTRATION | 2015 spring term sat, Feb 14 fiber art, jewelry, metals, photography, sculpture, digital and integrated media MeMBERS’ priority the sAn Antonio sAtellite reeF | and more! • Online | tues, dec 2 | 9:00am crochet workshop | sat, Feb 14 | 9:30am – 12:30pm • Member Open | thurs, dec 4 russell hill rogers lecture hall | navarro • Never taken an art class? No art experience necessary! We offer a wealth of OPEN REGISTRATION Part of the worldwide Crochet Coral Reef Project, beginning classes, as you’ll see on page 2.
    [Show full text]